Sirâcî's second elegy for Prince Mustafa: brothers who slew a second Joseph, the "old-hag heaven", Karbala, and a terkib-i bend that ends with the couplet it began with.
A love deyiş with the refrain "dilber": Bektashi images that see the basmala in the brows and verses in the eyes, the lion-clawed beloved and the hour of union.
The opening couplet of Eyüb Sabrî's kalenderî preserved in the Merzifon Cönkü: the fairy-faced beauty whose glances give signs but who cannot be won, and the lover's burning.
Hilmî Dede's kıt'a satirising Mir Hamza Nigârî: the aim of the Sufi path as asceticism and piety, puns on Nigâr and Leylâ, and a Karabağ that cannot bind the gnostic's heart.
The first quatrain of Erzurumlu Emrah's koşma in the Merzifon Cönkü: a reproachful beloved, a fate that favours another and the lover's cry; original text, English prose and commentary.
The first quatrain of Tokatlı Nûrî's koşma in the Merzifon Cönkü: news begged from the dawn winds and musk-scented locks; original text, English prose and commentary.
The opening couplet of Nazîf's ghazal in the Merzifon Cönkü: a world not worth an akçe and satin that wears out; original text, English prose and commentary.
The opening couplet of Himmetî's divan in the Merzifon Cönkü: a fairy-faced beauty greeted with bârekallah and praise; original text, English prose and commentary.
The opening couplet of Ârif's Güfte in the Merzifon Cönkü: a couplet of good wishes, possibly a feast-day greeting; original text, English prose and commentary.
The opening couplet of Yesârî's semai in the Merzifon Cönkü: a dialogue of lover and beloved in the I said, she said form; original text, English prose and commentary.
The first quatrain of a koşma by Dertli preserved in the Merzifon Cönkü: aşıks gathered in one place to contest, faithful hearts drunk since Elest, and love's hidden secret.
The first quatrain of a divan by Âşık Ömer in the Merzifon Cönkü: the face of the king of the fair is likened to the suras al-Qadr and al-Rahman, and the lover reads verses in it.
A six-couplet praise of the Prophet from the Etvâr-ı Seb'a attributed to Habib-i Karamânî, on the light of Muhammad as a mercy to the world before Adam.
The opening couplet of Bâkî's ghazal preserved in the Merzifon Cönkü: the beloved's lip set above Jamshid's cup and her face above Alexander's mirror.
Dervişoğlu's three-quatrain deyiş of the cem: the voice of a zakir who calls the souls to the station of unity, seeks a salve for broken hearts and keeps to his beloved's trace.
Sıdkî Baba's deyiş with the redif "eriştik şükür": a poem of thanks reaching from seven letters to one dot, alif and be, the opening of the book of truth and the two senses of Feyzullah.
Kul Hasan's dialogue with a ruin: a deyiş in which a place deserted since Noah's time tells of its prayer niche, its four-spouted fountains, its inns and the brides it gave away.
The first quatrain of the koşma printed under Bezmî's name in the Merzifon Cönkü: bow brows, gazelle eyes, a lover maddened like Mecnun, and a Cezbî problem.
Gedâyî's playful koşma in the Merzifon Cönkü: pimples on the face of a beloved hailed as the rose of the world's garden, and tulips that weep blood.
The first quatrain of Fethî's koşma to Gülfadik, a beauty of Merzifon: a lament swelling like a nightingale's, the sea of love and a fire burning to Judgement Day.
Two couplets of a ghazal attributed to Hayâtî by Âşık Çelebi: Farhad, who learned love from the Master of pre-eternity, and the executioner glance that sheds a thousand bloods.
Edîb of Lâdik's opening couplet setting a dawn prayer beside a wine-filled conversation, read between "sihir" (spell) and "seher" (dawn), written with the same letters.
A three-couplet ghazal fragment by Eşref, mufti of Merzifon: a pain the pen cannot write, a fever of grief treated with the pill of patience and eyebrows like a hidden verse.
Three couplets of reproach by Ümîdî of Merzifon: a sun that never visits its mote, a beloved who promised to stitch the wound but passes like an arrow, and a closed rosebud.
Kul Hüseyin's fifteen-syllable prayer: a dervish watching the beloved's road at dawn, the fear of sin and the plea "take my hand, O Muhammad, do not let us weep at the Judgement".
Derviş Edna's nefes on the journey of a dervish who "lost his lamb": the scale of judgement, the twelve gates, and the testament of an âşık who "reads the white, not the black".
Esrarî's deyiş "Gidiyor" on Cemalettin Çelebi's departure for the front in 1331 (1915): a war poem told through Zülfikar, the banner of tawhid and Karbala imagery.
Dervîş Mehmed Çelebi's Persian reply to Molla Câmî's Nûşirevân kıta: the Prophet cannot take justice from a Zoroastrian; it was Mustafa who purified the Chosroes.
Two couplets by Pîrî Mehmed Pasha preserved by Latîfî: a lover who, denied the down on the beloved's face, wishes for the lines of her letter, and a fortune read in reverse.
Sânî's opening couplet praised by Latîfî: a verbless address naming the beloved's stature and face with three trees and four flowers, the art the anthologist calls four within four.
The tailor poet Siyâbî's couplet on a lover smitten with a tailor beauty: a poor lover whose two collars never meet, the echoes of the word eski and Hüsameddin's Dürzî reading.
Ca'fer Efendi's couplet bearing his name: a reckoning between boundless cruelty and a short life, and the complaint of a lover who wishes for an endless life to bear his pain.
A couplet of Zekâî that Latîfî counts among his jesting hezl verse: a joke on a silver-bodied beauty, gold and the florin, and an innuendo open to two readings.
Rahîmî's conceit of the broken mirror: he asks the beloved not to break his heart's mirror, for a broken mirror multiplies the image and the gaze turns to others.
A dog at the beloved's door mistaken for a man, and a candle silenced after disputing beauty with a sun-faced beloved: two couplets by Emîrî kept by Sehî.
A beloved who takes bloody tears for a trick and a wasted body for a fancy: the two senses of âl and hayâl in Ehlî's matla, and a difficulty of reading in the text.
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